Documente Academic
Documente Profesional
Documente Cultură
PART I
PART II
4 INTRO
4
9 PROFILES
9
PART III
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32 CONCLUSION
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PART I
What Is
Commercial
Photography?
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Despite the demand for commercial photography, competition for work can be tough. One reason? Its among
the highest-paid areas of photography. Yes, a plum commercial campaign can bring in a lot of money, but until
you get to that point, youll probably work for smaller
businesses with smaller budgets.
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When it comes to structuring your fees for commercial photography, Bill Cramer, founder and CEO of
Wonderful Machine, a curated directory of photographers, says that each project a photographer works on
will come with a unique set of pricing requirements (for
both the production and licensing) and therefore its
important for the photographer to know what to consider before delivering a quote.
Here are key questions to ask before sending an estimate to a client:
says. If youve gone through the above list and can point
to specific job requirements that the quote wont cover,
youre much more likely to come away with what you
need to do the job.
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When bidding for a job, Frank Meo, creator of thephotocloser.com, a search engine that promotes photographers,
recommends writing a creative brief about why you want
the job. This is an unfiltered way of showing how dedicated you are, she says. Going that extra mile will help
you stand out.
DO YOUR RESEARCH
If Im sitting with an art buyer, I should really know everything about her ad agency and what accounts she has,
if I can find out, so that when Im sitting with her I can actually talk business, says Meo. Use LinkedIn or Twitter
to get a little information without being a spy. You want to
know whether so-and-so is always tough or whether soand-so always gives good feedback. If you shoot animals
you dont really want to talk to someone who is on airlines.
You want to talk to someone on the Purina account. Its
all part of that due diligence to find out.
FOLLOW UP AND KEEP IN TOUCH
Once you secure a clientor even just make a connection with a potential clientdont think you can stop
marketing to them. Make sure to show your appreciation, keep in touch and show them how youre career is
evolving. Existing and past clients are your very best
source of work for the future, says New York-based
photographer Steve Giralt. Not keeping in touch
means you dont care about getting more work from
them in the future.
In a competitive landscape, blanket email blasts and onesize-fits-all promos wont cut it. Chrissy Lynn hand-selects each potential client, and she tries to create promos
that an art director would want to prop on their desk, so
when that project comes around that your work could be
a fit for, you will be remembered, she says.
PART I
6 Takeaways
for Staying
Authentic in
the World of
Commercial
Photography
This is definitely the notion among commercial photographers looking to make it. Because of that, everyone goes to those cities and then the markets become over-saturated. On top of that, many companies
no longer have the budget to send photographers on
location. That means theyre seeking out commercial
photographers in their destination of choice. Take a
hint from Alexa, who, before relocating to Venice
Beach, built up a portfolio of Western U.S. landscapes
while living in Montana for years. Then she took that
book to New York and clients seeking that type of imagery were suddenly ready to hire.
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Sometimes you just cant do it allat least not everything at full force. Outsourcing parts of your business,
whether thats marketing or editing or accounting, can
be a smart decision for busy commercial photographers.
Or simply because its smarter to let the experts handle
it. Alexa uses Agency Access to help build new lists of
clients to reach out to, and also design her email promos.
This helps her stay on track and focus on the other aspects of her business.
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PROFILE
Breaking into
Commercial
Photography
Featuring Chrissy Lynn
hrissy Lynn got her start in photography in 2000 shooting her friends
bands in Washington, DC. From there, she spent several years dabbling in
documentary, editorial, fine art, interiors and, well, anything else that struck her.
Ive done everything, she says. After some soul searching, she realized should
couldnt keep being a jack-of-all-trades. Now based in San Francisco, this soughtafter photographer has found her niche in lifestyle and fashion shooting for brands
like Google, Salesforce, Rainbeau, and Rand + Statler. Here, she reveals how honing her focus helped her build a successful commercial business.
How did you find your niche and discover your focus in
commercial photography?
About five years ago, I looked at my website and realized I was really struggling to put together a cohesive
body of work. Id done some portraits here, a corporate
job there, and nice interiors. I was under the impression
that I had to put all my jobs up so that people could see
who Ive worked with and what Ive done. There wasnt
a point of view at all. The work looked like five different
photographers shot it. I wasnt happy with that, but I
didnt know how to fix it.
chrissylynn.photoshelter.com
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How did you find the time to work on this career reboot?
When I realized I needed to step back and refocus, I took a break from shooting and
took a retouching job at The Gap. It put some money in my pocket. It let me focus on
my photography and not just take on every single job to pay the bills. I took only jobs
that I liked and worked on building my portfolio and finding my photography voice.
Then I started shooting for The Gap. That propelled me into fashion. I started picking
up local boutiques and start-ups in San Francisco. Now Im shooting for some bigger
brands and tech companies.
Why is it important to find a niche?
I think finding a niche is key. Your niche will define your style, which will define
your niche. If your style is minimal and crisp, you probably gravitate more to product
photography, for example. My style is more authentic, intimate, believable. I can really get people to warm up and ease up fairly quickly. Maybe thats a strong suit of
mine and maybe its not a strong suit of others. We all offer different things. Maybe
youre a lighting genius. Im really good with natural light, but some clients need
more than that.
Once you have a point of view and a focus, then theres value. Then people are coming
to you for your style and ability and are willing to pay for that.
What are your tips for new photographers who want to break into commercial photography?
Its really hard, so your mantra has to be stay diligent. Its impossible to fail if you
work hard. I told myself as long as Im diligent and I dont stop working for it Im not
going to fail at it.
Set goals. Put all sense of doubt aside and define your dream job. What would you like
to be shooting thats going to make you happy every day? No one ever gets that all the
time, but its good to know and define that. Then you can take steps in that direction.
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How can you build up your portfolio before you have clients?
One thing you can do is reach out to a local modeling or casting agency. Youd be surprised how great that can work out. Tell them youre a budding photographer and want
to build your book in executive portraits. Ask if they have talent that needs examples
like that for their portfolio. Its totally worth it because then youre building a relationship with an agency and other professionals out there are seeing your work. I still do
testing with new models to try concepts I want to work out.
Do you have any tips for f inding clients that may be open to working with new
photographers?
When I was building my book in fashion photography, I Googled San Francisco fashion designers and looked for websites that could use better photography. If I really
liked their brand, I reached out to them. When I reach out, Im super friendly, but with
a purpose, and I think people are receptive to that. Of the five designers that I reached
out to, one of them is now a client. Its important to reach out directly to people you
want to work for because theyre not looking for you.
Theres not a lot of money in editorial work, but you can get a lot of experience working
with editors and writers. Youll meet interesting people and get tear sheets.
I also think its important to pick your dream clients and reach out to them directly,
when youre ready, when you have the work to show. That comes with gaining a level
of confidence behind your work. When youre creating photography that is from your
heart and you truly love doing it, it comes through in the imagery. When you love what
youre doing, you stand behind it and youre more confident about your work. And then
youre more confident to reach out to that dream client that might seem unreachable to
you. Just reach out to them, you have nothing to lose.
What promotional tools do you use to reach out to clients youd like to work for?
I use email marketing lists and targeted promos. I hand-select every one of my clients
as opposed to sending lots of emails to a big list from a database. I think its important
to make it personal. Then its real.
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You want them to have that picture by their desk so when that project comes around
that your work could be a good fit for, you will be remembered. Occasionally I get a call
from these pieces, but no one ever calls you right away.
How do you prepare for a meeting with a new client about a job?
I usually do a lot of research on the company to see who the people are and get an idea
of what kind of revenue the company is generating. The meeting often involves educating them a little bit about usage licenses and image licensing. I learned that the hard
way early in my career.
What happened?
I shot some product photography for a little company before they were anybody. They
bought the shots from me for a very fair price. Later, the company contacted me wanting the high-res images for a billboard spot. I drew up a new purchase order for the
new usage, and I never heard from them again. I found out that they had blown up my
images to use on the side of three tour buses. There was tons of usage that I didnt get
compensated for.
I think that its really important when starting out to realize the value of your work and
be sure to have the terms-of-use clearly stated. Dont be afraid that youll lose a client
because youre standing behind the value of your work.
What are your tips for quoting commercial jobs?
No two jobs are alike, so I definitely say research the client, get a clear understanding of
the scope of the project, and never give a quote in the first conversation. Ive shot myself
in the foot before by giving a quote too early without a real understanding of the scope
of the job. Ask a lot of questions. How many images do they want? What is the usage
for those? Are we going to be indoors or outdoors? Can I have a scout day or do I need
a scout day? Do we need hair and makeup or a wardrobe stylist?
A lot of times, asking people to give me a clear understanding of the job prompts
them to ask more questions within their teams. A lot of times people dont always
think about the total usage or if they will ever want to use the shots for a billboard,
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for example. Most people want unlimited use, unrestricted, but they dont realize that
they never need that. Usually I find out what they want and Ill send them a quote for
unlimited usage for them to share. Then Ill give them a quote for what they will likely
use the photos for so they can see a range of what photography is really valued at and
what it really costs. Ill give at least two estimates for a big commercial job.
Are there any other mistakes youve made that photographers could learn from?
Dont sell yourself short. Ive done that so many times. There was a steady client I had for a
few years, but I was working for a rate that wasnt really making me any money. At that time
I was still building my fashion portfolio so I looked at working with her as a way to build
that, but when she couldnt wiggle up to a reasonable rate, I eventually had to fire that client.
Not giving away your photography is very important to the integrity of the industry.
Its really important to understand the value of photography, and thats a really hard
thing to define when youre starting out.
How do you decide which jobs to take?
There are three things I like to consider for every job: Is the money good, is it good for
my portfolio, and will I make a good connection with a person or company thats in the
direction that I want to keep going in. If I can hit on two of those three things, then its
a solid deal. Sometimes its just for the money, but if youre just starting out, it would be
good to hit on at least one of those three things.
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PART II
miliano Granado picked up a camera in 2001 as a hobby. He was working at a New York advertising agency and didnt like it at all, so he decided
to take a class at International Center of Photography. It snowballed into a new
career, and he was able to quit his job in 2005 and start freelancing as an assistant
while shooting personal work. He got his first assignments in 2007.
Today, the Brooklyn, N.Y.-based photographers portfolio includes work for commercial brands like Converse, Nike and Smirnoff. Granado is also a founder
of Yonder Journal and Manual for Speed, two creative
projects partially underwritten by brands.
I dont think of myself as specializing in one thing,
Granado says. I do quite a bit documentary style work,
but also commercial and lifestyle stuff, portraiture and
more humorous and youth culture stuff.
Here, Granado gives insight into his marketing strategy,
which he describes as a constant, pleasant background
hum. Not a series of loud pops and bangs.
What types of clients are you trying to attract? Who are
some of your favorites or ideal clients?
emilianogranado.com
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say taken on a five-day cruise from New Jersey to Bermuda. It was every bit as awful as you can imagine. To
this day, people still reference that newsprint thing. I
learned that to make good photos is not enough. You
have to package them up nicely and deliver it to the
world in a format they will enjoy.
What marketing dos and donts have you learned along the
way to attract the clients you want?
I try to engage potential clients the way Id want to be
engaged myself. Dont be annoying, dont be pushy, dont
be irrelevant. Be entertaining, be yourself, speak candidly, dont be a robot, spellcheck, use pretty colors.
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PART II
How to Make
Shoot Day a
Success & Keep
Clients Happy
Featuring Steve Giralt
stevegiralt.com
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What are your tips for making shoot day a success? How do you solve problems or anticipate
issues that may come up?
It really depends on the shoot but in general, communication is key to make sure that the
shoot day goes successfully. I find many photographers, especially young photographers,
are scared to ask clients questions. It is important to think of every what-if scenario
before a shoot to make sure you know what youve agreed to. Most of the hard thinking
and problem solving for a shoot is done before shoot day so that shoot day goes smoothly.
Putting together a great crew is also really important and making sure everyone on the
team is aware of what they need to do. This is why we have conference calls and pre-pro
books that lay out all the info for the shoot.
A pre-pro book is a document which, depending on the job, is either made by the producer on a job, the photographer himself, the photographers agent, or the producer at
the agency. It contains all relevant information to the job that is going to be shot: the
creative brief, call sheet, layouts and swipe related to the job, production schedule, and
more depending on the job. On big jobs, a few days before the job, the client, agency,
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photographer, and stylist all get on a conference call to go through the pre-pro book
and make sure everyone is on the same page as to what will be happening on shoot day.
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On shoot day the job of the photographer is to make sure that the client is happy with
the images made, and that they enjoy the experience of making those images as a team.
For repeat business I find it is important that not only the images made were great, but
the experience was great.
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How do you manage working with stylists, make-up artists, producers, etc., and getting the
best work possible from them?
When one gets their start in photography, they usually begin as a one-man team. The
longer I shoot, the more I have come to learn the importance of a great team. Im
constantly looking for new stylists to work with as every new project I take on has
new needs. For example with food stylists, some may be great for food, but not great
for beverages, or some may be great for editorial stories, but not great for advertising.
Knowing how to assemble a great team is vital to a photographers success in the world
of commercial photography. I find getting the best work out of a stylist is usually a
matter or hiring the right stylist for the right job. This is where having a good network
of friends in the industry is great. I usually hire new stylists almost entirely based on
referrals from people I know or from agents I know well and know the way I work. Its
hard to know how good a stylist may be from just looking at their portfolio, often times
Id rather meet them in person first before using them on a job.
Whats the secret to great customer service and keeping a new client coming back for more
after a shoot?
Be grateful! Very, very grateful! I frequently send thank you notes to clients after shoots,
even clients who I have worked with for a decade. Just because someone has hired you
in the past doesnt mean they will hire you again in the future. Treat every job as your
first job with the same level of dedication and importance. Make sure you spend more
time listening to your client than talking at them.
Photo by Steve Giralt
Also, I thank my clients twice a year for their generosity. Once a year I throw a big party
and invite all my clients and people who have been good to me, and then at Christmas
time I always send a gift to all the clients who hired me that calendar year. I try to get
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really creative with the gift I send to show I really care, and often there is a hand-made
aspect to the gifts. One year I made cutting boards in my woodshop for each of them;
another year I sent framed prints.
Do you have any shoot day dos or donts you can share?
The photographer must always be confident and in control of whatever is going on. The
world often throws curve balls at you on a shoot, but a good photographer hits those
curve balls out of the park every time. Plenty of unexpected things have happened to
me on shoots, how I handled those things is why I get hired.
No matter what happens, as a commercial photographer you need to think fast and
come up with solutions to difficult problems. Whether it means sending someone out
to buy a new table-top oven when the oven in your studio stops working, or renting a
car and driving when a flight gets cancelled (both of which have happened to me), the
client expects you to do everything possible to make sure a shoot happens as planned.
If you fail to do that, you may not get hired again.
What are some mistakes youve made in the past others could learn from?
Losing touch with old clients would have to be the worst of the mistakes I regret. The
fact that someone took a chance to hire me, I shot the job they hired me to do, then I
lost touch, is horrible. Existing and past clients are your very best source of work for
the future, and not staying in touch means you dont care about getting more work from
them in the future.
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PROFILE
Integrating Your
Personal Style
into Commercial
Work
Featuring Kareem Black
areem Black graduated from the School for Visual Arts in 2000 when the
economy was flush, and he quickly found work for clients like The Fader,
GQ, Elle Girl, Sony Music Entertainment and Atlantic Records. Featured in 2005
as one of Photo District News 30 Emerging Photographers, Black is now known for
both his top-notch studio abilities as well has his talent for capturing the frenetic
energy of New Yorks party scene. This New York-based photographer had a lot to
share with us about marrying personal work with commercial clients.
How did you get started with commercial clients?
When I graduated in 2000, the economy was really
great. I started to shoot for a lot of people that, if the
economy was otherwise, I wouldnt have been able to.
I was getting hired for a lot of jobs that I wasnt really
qualified for. I was shooting for a lot of music magazines
and websites. From those connections, I started to shoot
for The Fader, which was more artsy.
I was going out a lot and meeting people. A lot of my
business has come from just meeting people out. My
first ad campaign came from a connection I made out
at a function. I showed him my book. We shot a small
smoking-awareness campaign. After that we shot a
Cingular campaign that was my first big campaign.
Then I started shooting for Verizon based on a friend of
the person who I was shooting Cingular for. That was all
from word of mouth.
kareemblack.com
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think Im pretty good at finding that line of lets get crazy but what do you guys need?
I make sure to know what we are selling and what are the important bullet points to hit.
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My clients know I can actually shoot a campaign and be able to sell a product, while
at the same time conveying that spontaneous energy. It looks like theres not a lot of
thought, it looks like all kinetic energy, but there really is a lot of thought. We are partying, but the party must stop if the labels not facing the camera.
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What advice do you have for a photographer who wants to leverage a personal project
into commercial work?
I think people should shoot what they like to shoot, and they should show it to as many
people as possible. Youd be surprisedthere are applications out there for everything.
If it is really personal work, then that means its not everyones thing. This is your thing.
In a lot of ways, we all have to wait until your thing or moment is up. Feel Good Lets
Go happened at the right time. This is whats happening right now in photography. Its
sellable now, but it might not be five years from now.
My other suggestion would be to learn the commercial, technical stuff. Im happy I know
how to use lights and light ratios and retouching because maybe theres a day when my personal work isnt going to be selling and Ill have this other thing to do also. Being a technical
photographer and understanding how photography works is really, really important.
What are some of your biggest challenges of being a commercial photographer?
In a perfect world, a photographer would come on set and take pictures, but there are
a lot of things that happen before that point can be reached. Theres a lot of stuff that
we do that doesnt have anything to do with making pictures. Im on a lot of conference
calls, and I write a lot of treatments explaining what I want to do and how Im going
to do it on a shoot. In most ways, Im OK with being that sort of a politician, but it can
be frustrating. But at the end of the day, its our job. Its better than being in a cubicle.
How do you keep your cool and deliver under pressure when working with big clients?
Photo by Kareem Black
The photographer is the captain of the ship. If something goes wrong, its always
our fault. It doesnt matter if the make-up artist is late or whatever. The stress level
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is higher, and it gets more intense the bigger the job. Thats why we get paid more
money than everybody elsebecause we have more responsibility. It can be fun but
also so draining. You are on the entire day. Youre not just taking pictures, youre
wearing all of these hats, and making sure that everyone is where theyre supposed
to be psychologically.
You want the vibe to be cool and drama-free on set. Delegating responsibility to the
right people and making them feel appreciated is important. If you want to have a
power trip on set, thats going to kill the vibe of everything. If theres a conversation I
need to have with the clientlike if theres a difference of opinion or a question about
how to solve a certain problemthen were going to have that conversation, but were
not going to have it in front of everyone.
My moms a doctorshe saves peoples lives. Making pictures is easy compared to that.
Thats the vibe that I go with. Lets just take some pictures. Lets go. Its not a life or
death situation.
What are your tips for someone starting out in commercial photography?
The rules have remained the same. Dont be a dick. Show up on time. Do your shoots
under budget. And show your work to as may people as you possibly can. And always
shoot what you love. Never lose sight of that. Keep in mind that this is a business and
there are a lot of people out there who will take your place.
Find names in mastheads of magazinesits an old technique, but it still works. Go to
industry parties. Meet people. You have to, its just not going to happen on its own. If
you dont, someone else will.
How do you use social media?
Social media is vitally important. On many levels, Facebook is still essential. I feel like
thats a staple. I think Instagram is super-important, especially right now for photographers. The rest of them, Im not very into.
At the core of everything should be the photographers website. The website should purely be work. Leading out from the hub, there are sites like Instagram and Twitter where
you are doing behind the scenes or telling a little bit more of the story about yourself.
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Im very careful about posting things that are controversial. I want you to know who
I am. Im telling the story that I want to tell and editing it the way that I want to edit
it. If theres something that I really want to show my friends, Im going to just text it.
Social media is something photographers need to do every day, but we need to maximize how efficiently we use these things. Its easy to get caught up and be on it all day.
How do you recommend dealing with the inevitable rejection that comes with being a
photographer?
I think it can never be taken personally. What I would say would be, again, show your
work to everyone you possibly can. Just because it doesnt happen at that point in time,
doesnt necessarily mean it was a rejection. Maintain those relationships. If you meet
with an agent, ask them what they think about your work. Do you think there are other
agents that would like my work right now? Agents see a lot of photography, and they
know what sells, so asking them cant possibly hurt.
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PROFILE
Buyer Interview
Featuring Cali Capodici
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about who you know and how you treat people. A photographers rep that I have known for years once said to
me people and the relationships are the real currency of
your life, its not always about money.
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What advice would you have for new photographers
trying to break into the commercial market?
I would advise photographers to work really hard and
be nice to people. It sounds simple, but its true. So
many people are talented, but not everyone wants to
work hard. If you outwork the person to your right and
the person to your left you will be the one that gets
noticed. Its also really important to network like crazy.
Email people, ask questions, ask for advice. If you are
genuine and show ambition and curiosity it will take
you very far.
Do you have any dos and donts for photographers
when working with an agency?
I recommend being flexible. Things may change, requests and shot lists may get larger, but understand that
building that relationship with your producer and creatives at the agency is really important. Keep your cool,
but dont over promise something if you arent sure you
can get everything they are requesting.
When youre working with a new photographer, what are
some qualities that make you want to hire them again?
Im really big on relationships, so if we work together
and you really go the extra mile and are fun while doing
it, I will come back to you time and time again.
I worked with a photographer recently on a really difficult shoot. He made it easy because he was so flexible,
and also very honest about what was attainable and
what he thought we may not be able to get. He never
said no off the bat, but offered solutions of ways we
might be able to get the best product. He was great
under pressure, and I genuinely enjoyed my time with
him. I will always think of him for jobs in the future
and will give him the highest recommendation if anyone asks me about him.
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PART III
Conclusion
s you can tell from the photographers we interviewed, a successful commercial photographer must wear many hats. The best have a
healthy mix of creative vision and savvy business sense
along with the ability to get along with a range of personalities. If youre inspired to take the leap into commercial photography, use their tips to start honing your
skills building a portfolio, and reaching out to clients.
Soon, youll be on your way to an exciting, challenging
and rewarding career. Ready, aim, shoot!
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